


Nobody Knows You Now (When You're Dying In LA)

by cottonwoolsocks



Category: Sanders Sides (Web Series)
Genre: (- ambiguous), Acting, Angst, Background Dark Creativity | Remus "The Duke" Sanders, Background Morality | Patton Sanders, Burnout - Freeform, Character Study, Creativity | Roman "Princey" Sanders Angst, Creativity | Roman "Princey" Sanders Needs a Hug, Creativity | Roman "Princey" Sanders-centric, Emotional Hurt, Good versus Evil, Hurt No Comfort, Post-Creativity Split (Sanders Sides), Self Confidence Issues, Self-Doubt, Unsympathetic Morality | Patton Sanders
Language: English
Status: Completed
Published: 2020-07-07
Updated: 2020-07-07
Packaged: 2021-03-05 00:34:38
Rating: General Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 1,644
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/25135474
Author URL: https://archiveofourown.org/users/cottonwoolsocks/pseuds/cottonwoolsocks
Summary: He had to prove he was worth their time. He had to prove he was worth something. He had to pay for the love that they gave, atone for their adoration, because if he stopped providing, they would stop giving, and he would be left alone and worthless and unnecessary and he wouldn’t, couldn't, can’t have that.He had to prove he was worthy.
Comments: 18
Kudos: 65





	Nobody Knows You Now (When You're Dying In LA)

**Author's Note:**

> title from ‘Dying in LA’ by Panic! At The Disco. this fic was also partly inspired by it, due to the heavy roman angst vibes it gives me.  
> you do not need to know the song to understand and enjoy the fic.

An actor’s most cherished talent is their ability to reinvent themselves, donning any number of masks to hide their true face and instead portray that of another.

Roman was…exceptionally practiced at this particular skill.

From the moment he had first laid foot in the home of the Light Sides, he had been built up, celebrated; honoured as brave, courageous, noble. He stood tall and mighty, aware of his importance, aware of how much they loved him and how utterly indispensable he was—not only to Thomas, but to the other Sides, as well. He was strong, valuable, fearless, and enjoyed living up to these expectations, always meeting or exceeding them and never slowing down, because why should he? He was bold. He was powerful. He was unbreakable.

He was the  _ Good _ Creativity. He was important. He had work to do, and challenges to face.

Innovation poured from his pen in great torrents, song after video after sketch, building Thomas up, building the others up, encouraging them all to meet and exceed their potential, to always take the extra step, make the extra leap forward to greatness and significance.

Roman became a symbol for more than just Creativity.

Courage. Success. Confidence. All things he now represented, titles to nurture and crowns to bear proudly. He was not ashamed of his achievements. And he was excited, ever so excited for each new day, each new challenge to face, each new obstacle to overcome.

He was the Good Creativity. He was a standard that had to be upheld.

See, the trouble with such an unwavering incline in achievements and innovation is that eventually it must slow down. Humans are, after all, not like machines or characters in a play, and need to take time to breathe, rest, reset. Creativity is not a limitless tap—but it does recharge, with time.

Roman found this incredibly frustrating.

Success, he argued, was not something you could simply  _ wait to acquire _ . Success required a devoted, steadfast stream of accomplishments, effort, determination—because the moment you let up, the second you break character, those around you will dig their heels into your shoulders in order to elevate themselves. Success is a matter of how far and how fast you are willing to climb, and what you are willing to do to reach it.

Dreams unfold upon the ashes of dreams.

Roman’s work was never done. Script after script. Song after song. He churned out creations, works to display, musings to share with the world. Always improved. Each better than the last. Always refining, never slowing, because if he hesitated for even a second then those in his dust would catch up to him and he would be left behind, not good enough, never good enough.

He had to prove he was better.

What the others thought of his brother was no secret. His brother was Dark, his brother was evil, his brother was not wanted. They had no use or desire for him.

And what made Roman any different?

_ Your goodness _ , Patton would say.  _ You create nice things. Remus creates horrible things. _

_ But where, _ Roman couldn’t help but wonder,  _ was the line? _ What separated ‘good’ from ‘evil’, ‘light’ from ‘dark’? Surely it was but a matter of preference, of opinion, of what the individual had learned throughout their life to be accepted or admonished?

That was, ultimately, the reason the Split had occurred in the first place.

Creativity had been torn into two entities, Roman and Remus, Remus and Roman, ‘good’ and ‘evil’. 

And evil was not wanted. That much was clear, had been made clear from the very moment Roman had first grappled his way into existence. Evil lost friends. Evil lost acceptance. Evil meant nobody would listen to you, because you only caused hurt, pain, fear. ‘Evil’ was every villain of every show he had ever seen, always the losing side, never the happy ending.

And Roman was not evil. He made sure of that, tried so hard to make sure of that.

After all, could someone truly evil create such beautiful things, such exquisite artwork? And Roman was a prince! Princes were not evil, practically by default—this, of course, the reasoning behind why he had selected this moniker for himself in the first place, and fought so hard to make sure it wasn’t forgotten.

But he was running out of steam.

The quality of his creations was starting to diminish: not as popular, not as pretty, not as original. But he persevered. He had to keep going, because if he stopped, if they didn’t have a use for him anymore, if they saw through the cracks in his mask despite how he tried so hard to conceal them, then they would throw him away like they had done his brother. Like they had done Remus.

Roman did not want to be alone.

He had to prove he was worth their time. He had to prove he was worth something. He had to pay for the love that they gave, atone for their adoration, because if he stopped providing, they would stop giving, and he would be left alone and worthless and unnecessary and he wouldn’t, couldn't, can’t have that.

He had to prove he was worthy.

Minutes turned to hours turned to days spent locked behind his door, heaps of discarded scripts tossed offhandedly into empty space, neatly at first, then merely cast in the general direction of the trash as he clawed urgently for the next idea, the next project, the next success, because  _ this _ would be the one,  _ this _ one would prove it to them,  _ this  _ would show he was worth keeping around, indisputably, that he wasn’t evil, that he wasn’t his brother.

The papers piled up, Roman’s notebook overflowing with discarded ideas, and yet Thomas’s remained blank.

Once, Patton found him, head in his hands past four in the morning, torn up pages obscuring his desk and floor and half-full coffee mugs littering worksurfaces. He had been led gently to bed, and the next day Roman did not miss the sympathetic glances the others thought he couldn’t see. He didn’t miss the demeaningly cautious tone to Patton’s voice, Virgil’s uncharacteristic lack of teasing insults, the way Logan didn’t correct him, even when he purposefully misused the word ‘inchoate’ just to get a rise from him.

He had failed them. He was supposed to be strong. He was supposed to be confident, proud, indomitable. Most of all, he was supposed to be  _ creative _ .

That was his symbol, his mark, his purpose. It had to be upheld. He could not allow it to slip between his fingers, fall and shatter, scatter into a million tiny, irredeemable pieces, each too small to be of any consequence or concern.

He couldn’t allow them to see him stumble, because in a moment he would be gone, cast out, forgotten. Not worthy, not ‘good’, not  _ enough _ .

He had to be stronger, he had to be unyielding, he had to act the part—and act he would. Acting was one of the few talents he actually possessed, one of the few uses he had, and he would damn well make the most of it.

An emotional mask, to an actor, is elementary. Change your face, portray another, hide your true thoughts and emotions and instead channel those of someone else, someone without the meagre concerns of your own life.

Roman donned his mask—someone proud, someone self-assured, someone powerful and determined and Good.

He would not let the mask break. He would patch the cracks before they showed, with wit and charm, magnificence and splendour. Because if they couldn’t see him beneath the extravagance, if they were unable to peer too hard into the shining brilliance lest they damage their eyes, they’d never even know the cracks were there.

He would be brave. He would be proud. Most of all, he would be ‘Good’.

He was not like his brother. He was not horrible. He  _ was _ worthy, he  _ was _ wanted, he  _ was _ loved, and cherished, and appreciated. He was. Of course he was. 

He had to make it. He had to be good enough. Because if he wasn’t, if he couldn’t do the only thing he’d ever been good at, what use was he to them? What worth did he have?

Without his mask, what else was left?

The mask had become so rudimentary, so ingrained in his flesh that he wasn’t sure he even existed beyond it any more. He had been acting the part for so long, he wasn’t sure he could stop. He wasn’t sure he wanted to.

‘Roman’ had become nothing more than a character he portrayed, his greatest and most elaborate creation. And he had been playing this ‘Roman’ for so long, this bold and brave and extravagant prince, he wasn’t sure he remembered who he had been before.

Had he been anyone before?

Or was this all he was? A shell? A vessel through which a character was to be portrayed?

Maybe he was never supposed to change, to question. Maybe he was supposed to just keep creating, keep acting, continue playing the part of this bold, brave prince.

That was his function, after all. His purpose. And as long as he existed in some shape or form, he must continue to uphold it, no matter how much he may wish otherwise. 

As long as he kept creating, as long as he paid for his place, upheld his standard, he couldn’t be forgotten. Couldn’t be overlooked.

These challenges strengthened him, fleshed out his character for a bigger and better and bolder performance. This pain led to amelioration. And if he kept pushing away the negative feelings, no matter how insistently they tried to tear him down, he would be able to soldier forward.

He is an actor, after all. And the show must go on.

**Author's Note:**

> i would like you all now to again consider when janus told roman that the only difference between him and his brother was his moustache thank you for your time
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